(2) Rotation with the radius in the forearm. Trying to rotate the hand at the
wrist always results in strain and often in inflammation of the wrist.

USE OF THE HAND:

(1)
Hand alone is not adequate for playing the piano. Make it as a synchronized part of
the entire mechanism. demand it as a part of the whole. The hand must
simply extend the control of the upper arm and forearm. The upper arm is like
the branch of a tree. The forearm is like the stem of a branch, the hand
is like the leaf of a stem.

(2) The hand is frequently used in playing arpeggios and scales. It is often
thrown into a new position by the forearm and upper arm. Do not pass the thumb
under the palm when playing fast. Pass the hand as an unit while
maintaining the chord formation.

(3) Act as a fulcrum (the support, or point of rest, on
which a lever turns) for the fingers. letting the finger up
and down and sideways so that the fingers can fall freely. - for example, playing
scales. broken chords and arpeggios. When acting as fulcrum of the
fingers , the hand is
steady and passive but remain alert.

(4) The control of the chord formation of the hand takes place in the palm
not the fingers. Open the palm of your hand rather than stretching your
fingers.

(5) Place the hand as close to the keyboard as possible and always maintain a
horizontal and natural curved chord formation .

THE WRIST:

(1)
It is the possibility of flinging the hand down or out through the wrist joint
which gives the wrist a very specialized value for the pianist.

(2)
The wrist must be flexible and springy to allow the upper and
forearm to propel the hand into play position, to transmit the power of the arm.